Adolf Bernhard Marx

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Marx, Adolf Bernhard


Born May 15, 1795, in Halle; died May 17, 1866, in Berlin. German music historian and theorist, teacher, and composer. Doctor of philosophy (1828).

Marx studied composition under D. Turk in Halle. He completed his training under C. Zelter in Berlin (from 1820). In 1824 he founded the Berliner Allgemeine Musikalische Zeitung (Berlin General Music Journal), which he edited until 1830. In 1828, Marx became a music instructor at the University of Berlin, receiving a professorship there in 1830. He was appointed to the chair of music in 1832. At the university he laid the foundations for the systematic teaching of musicology.

Marx wrote the following fundamental works on the history, aesthetics, and theory of music: On Painting in Music (1828), Music of the 19th Century (1855), and General Music Textbook (1839, Russian translation, 3rd ed., 1893). He studied and attempted to popularize classical music, particularly the works of Beethoven and Gluck (The Life and Creative Work of Ludwig van Beethoven, vols. 1-2, 1859; Gluck and Opera, vols. 1-2, 1863). He wrote the well-known textbook Instruction in Music Composition (vols. 1-4, 1837-47), which has been published in many countries. He composed a number of orchestral, piano, and vocal pieces.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Adolf Bernhard Marx. Translated by Stephen Thomson Moore
The brief second movement, "Andante con moto," has long been associated with the story of Orpheus taming the Furies, though the suggestion did not come from Beethoven; it may have first been made by Adolf Bernhard Marx in his 1859 biography of the composer.
3 in chapter 2, including those of Adolf Bernhard Marx, Lenz, Czerny, and Carl Reinecke.
He compares Bruckner's careful regulation of periodic structures with theoretical discussions by Johann Christian Lobe, Adolf Bernhard Marx, Ernst Friedrich Richter, and particularly Simon Sechter, all which Bruckner himself had studied (pp.
Monelle borrows his technical terminology from Adolf Bernhard Marx, who distinguished between Satz and Gang: according to Marx," the Satz is closed on itself and at rest, while the Gang is in movement, finding its close and goal not in itself but in some other feature" (p.